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PUBLIC SCHOOLS OF PHILADELPHIA. 



PUBLIC 



nda^pisJ * flrtv^c^ool, 



Fifteenth and Locust Sts. 



STATEMENT OF THE OBJECTS OF THE SCHOOL, RULES, 

REGULATIONS, COURSE OF INSTRUCTION, AND 

ILLUSTRATIVE DIAGRAMS, 



PHILADELPHIA: 

Surk & McFetridge, 306-308 Chestnut Street. 

1S92, 



PUBLIC SCHOOLS OF PHILADELPHIA. 



"PU-a.<ie.UV\a 



PUBLIC 



I nd^tml v fi pt v ^el^ool, 



Fifteenth and Locust Sts 



STATEMENT OF THE OBJECTS OF THE SCHOOL, RULES, 

REGULATIONS, COURSE OF INSTRUCTION, AND 

ILLUSTRATIVE DIAGRAMS. 



PHILADELPHIA : 

hvuK & McFetridge, 306-308 Chestnut Street. 

1591. 



OCT 23 \ 909 



A A b 



BoA^D OF PUBWC EDUCATION, 
first School District, Pennsylvania. 



President 

ISAAC A. Sf4EPPAf*D. 

Superintendent Public Schools, 

EDWARD BROOKS. 

Secretary, 
Architect and Supervisor of School Buildings, 

JOSEPH D. RUSTIC. 



JJLembePs of Board of Public Education. 



I. 


A. S. Jenks. 


18. 


Alex. Adaire. 


2. 


A. D. Harrington. 


19. 


Wm. F. Miller. 


3- 


Samuel F. Flood. 


20. 


Thomas E. Merchant. 


4- 


P. A. Fagen. 


21. 


Wm. M. Camac. 


5- 


John M. Campbell. 


22. 


Herbert Welsh. 


6. 


C. W. Findley. 


23- 


Richardson L. Wright. 


7- 


Miss Anna Hallowell. 


24. 


Edward Lewis. 


8. 


Simon Gratz. 


25- 


Thomas W. Marchment 


9- 


Thomas G. Morton, M. D. 


26. 


Paul Kavanagh. 


IO. 


Thomas A. Robinson. 


27. 


Samuel B. Huey. 


1 1. 


Samuel T. Child. 


28. 


Charles F. Abbot. 


12. 


Alex. H. McAdam. 


29. 


Mary E. Mumford. 


13- 


John L. Kinsey. 


30. 


Wm. J. Pollock. 


U- 


A. M. Spangler. 


31. 


Frank S. Christian. 


i5- 


Henry R. Edmunds. 


32. 


Harvey H. Hubbert. 


16. 


Isaac A. Sheppard. 


33- 


D. M. Collamer. 


17- 


James Hughes. 


34- 


Joseph Rhoads. 




35. Thomas 


Shallcross. 





Committee on Industrial Art Education. 

A. M. SPANGLER, Chairman. 

SAMUEL T. CHILD, HERBERT WELSH, 

THOMAS A. ROBINSON, THOMAS E. MERCHANT, 

MARY E. MUMFORD, SAMUEL F. FLOOD, 

H. H. HUBBERT, P. A. FAGEN. 



FACUliTV. 

Director Industrial Art School, 

J. LIBERTY TADD. 

Superintendent of School, 

MRS. M. C. ROBINS. 

Teachers of Designing and Drawing, 

FRANK WHITESIDE, 

MISS M. K. RINGWALT, 

MISS V. E. KINSEY. 

Teachers of Clay Modeling, 

MISS HELEN DUNLAP, MISS E. F. BRADDOCK. 

Teachers of Wood Carving, 

H. UHLE, B. UHLE. 



[From Circular first printed in 1885.] 

STATEMENT OF THE OBJECTS OF THE SCHOOL 

It is only a few years since the feasibility and advisability of 
engrafting Manual Training on the public school system began to 
be fully and intelligently discussed by prominent educators. Whether 
the pioneers in the proposed innovation upon the deep-settled and 
deep-rooted standard methods of school instruction fully compre- 
hended that they were about to build "better than they knew," is not a 
question that needs present consideration, as we have to-day before 
us the gratifying results of their educational forecast in the form of a 
system of public school training which is a wide and happy departure 
from any that has preceded it. To Philadelphia must be accorded 
the distinguished honor of having been the actual leader in the move- 
ment, at least first on the list of cities to-day, which have given 
Manual Training, in connection with the public school system, sub- 
stantial, practical and successful experiment. 

The main difficulty encountered by those who stood foremost in 
the advocacy of the new system was the generally prevalent impres- 
sion that by Manual Training the teaching of trades was meant, than 
which nothing could have been farther from their thoughts. It was 
broadly declared by them, and is here emphasized, that for many 
cogent reasons that could be readily adduced, such a system would 
be impracticable, in conflict with itself, and therefore not meriting 
more than simple passing consideration. 

Another objection strongly urged — especially by some teachers — 
was, that such training would seriously interfere with the regular course 
of scholastic study ; but that, too, was quickly overcome by practical 
illustration in the schools in which the new system had been intro- 
duced. In a word, whatever the obstacles to its onward march and 
general introduction — so far as Philadelphia was concerned — they were 
speedily swept aside by the irresistible logic of facts, and to-day 
Manual Training in connection with the public school system has 
completely disarmed its former opponents, in many cases finds in 
them its most earnest advocates, and has won a place in the heart of 
popular favor, from which it will never be dislodged. 



The marked interest displayed by the leading nations of Europe 
in regard to industrial education years ago steadily imparted itself to 
the United States, but never took deep root until Philadelphia, with 
an earnestness and liberality that cannot be too highly commended, 
practically and satisfactorily solved the problem which had for so long 
a time puzzled and perplexed prominent educators, — -How can Manual 
Training be most successfully and inexpensively introduced into and 
permanently engrafted upon the public school system ? Boston, 
Chicago and St. Louis had successfully established manual schools, 
giving them hearty and liberal encouragement, notwithstanding the 
fixed high prices for tuition, thus acknowledging the importance of, 
and strongly endorsing co-education of, the head and the hand. 

While it is thus admitted that Philadelphia was not the first in 
this great and constantly enlarging work of educational reform, the 
fact stands undisputed, that in its most essential feature, namely, 
successful industrial training in the public schools and without cost to the 
pupils, she has thus far distanced all competition. Precedent to all 
the initial movements referred to, was The School of Industrial. 
Art, the subject of these pages. It is authoritatively claimed that 
the establishment of this school was the first practical and successful 
attempt ever made in Philadelphia or elswhere to incorporate Manual 
Training; as an integral branch of common school education, which, of 
course, implies free ttdtion. Although the primary plan of the school 
has been so materially modified as to have eliminated from it all that 
was useless or impracticable, introducing that which is valuable and 
practicable, enough of the original has been retained to render it 
worthy the high place it to-day holds in public estimation. 

As will be learned from the accompanying " Rules," " Regulations," 
'* Course of Study," and illustrative diagrams, the school has recently 
undergone thorough and effective reorganization. Admission to it — 
which formerly was practically without restriction — now requires 
special qualifications. 

Boys and girls desirous of availing themselves of its advantages 
must comply with certain reasonable conditions, the principal being 
propriety of deportment and punctuality of attendance. The course 
of study has been so enlarged and systemized that admissions to the 
school are more eagerly sought than ever before. 

Referring to the Course of Study, it will be perceived that it is 
not only comprehensive, but eminently practical also, one of its leading 
requirements being that every design in drawing, clay-modelling, or 
wood-carving shall be made with a view to some useful end. Model 



or object drawing ', just introduced, is one of the new and commendable 
features of the revised course ; another, the system of monthly rotation 
of the classes, by which the eight hundred pupils change from room 
to room without the slightest interruption of the regular order of 
study. 

It would be superfluous to point out in detail the advantages 
which a school of this character furnishes to its pupils. Daily expe- 
rience in almost every human pursuit demonstrates the inestimable 
value of such training, whatever may become the life vocation of those 
who have enjoyed its benefits. There is not a profession or an industry 
that is not, to a greater or less extent, dependent upon some one or 
more of the branches taught in this school. It is not a trade-school. 
It does not profess to teach handicrafts of any kind, but only to 
familiarize pupils with the nature and use of hand-tools, and enable 
them to comprehend and accomplish those simple processes which 
underlie all artistic and mechanical operations. It does not, therefore, 
follow that those who receive its instruction must necessarily become 
either mechanics or artists, though no more needful or desirable pre- 
liminary training for either could be devised. 

A proper conception of the character and uses of tools, the 
handling of them, and the execution of a piece of handiwork, whether 
it be an original drawing, a model in clay, a piece of wood carving or 
a specimen of metal or joinery work, are calculated to inspire a feeling 
of greater respect for industrial pursuits than is generally entertained, 
while, at the same time, they may be the means of developing the 
peculiar bent of the tastes or inclinations of the scholars. How many 
parents have had that most perplexing and painful question : What 
shall I do with my boy or my girl ? satisfactorily answered- after the 
child had enjoyed a term or two of instruction in this School. 

It is a matter of vital importance to the individual and to the 
nation, that the boy shall so fully understand himself as to know, so 
far as such knowledge is obtainable, what is good for him, even though 
he fails to determine that which is absolutely best. It is the province 
and special function of the Industrial Art School to search out and 
develop the latent powers of its pupils, and provide them with means 
and opportunities for determining whether their natural gifts lie in the 
direction of mechanical or artistic pursuits, or neither. 

A fact that should be impressed on the mind of every parent, as 
well as of every boy and girl, is, that the public schools, as at present 
organized, afford the scholars no opportunities for familiarizing them- 
selves with the manual arts and industries. Hence, if they desire to 



8 

learn a trade or become artists, they are, when they graduate, almost 
helpless and without other resource than to begin to learn afresh, and 
with comparatively few of the advantages afforded them by this School. 
It needs not the saying, that the boy, who, at fifteen, can draw reason- 
ably well, who understands the nature of, and can handle with tolerable 
readiness, the fundamental tools used in industrial callings, has many 
advantages which are not possessed by him who has not acquired even 
such moderate skill. The moral is obvious. 

In conclusion, it is to be said of the Industrial Art School that it 
is the only one in Philadelphia connected with the public schools, in 
which girls as well as boys are received as pupils. 

A. M. Spangler, 

Chairman. 



[Extracts from Annual Report of Director to Board of Education, 1890.] 

The school was first started in 1880, permission having been 
obtained of the Board of Public Education by Mr. Chas. G. Leland 
for the use of certain rooms in the Hollingsworth building, for the 
purpose of demonstrating the feasibility and practicability of training 
the mind and hand of our youth at one and the same time. The 
school was but an experiment, and there being no appropriation for 
its maintenance, the Board had nothing to offer but the use of the 
rooms. 

Through the enterprise of Mr. Leland, however, these obstacles 
were easily overcome, and, accordingly, the school was opened with 
one hundred and twenty children, who came every Tuesday and 
Thursday afternoons for two hours, permission first having been 
obtained to absent themselves from their regular schools. 

The results for the first year were more gratifying than was even 
hoped for, and it was not long before the school had passed its experi- 
mental stage. 

The following year the Educational Board took charge of this 
new departure in education ; regular teachers were appointed and the 
school placed upon a permanent basis, with more than double the 
number of pupils in attendance. 

Since then it has grown in numbers, and enlarged facilities pro- 
vided, until now the number receiving instruction each week, has 
reached almost 1,700, embracing pupils from the lowest primary grades 
to the highest grades in the Grammar School, as well as the teachers' 



classes, of which further mention will be made. The annual cost per 
pupil is but $3.50. Of course, with the experience attained since the 
opening of the school, there have been material changes in the 
methods employed ; a regular graded course of instruction has been 
adopted, new graded series of plaster casts have been provided, and in 
many minor details has the equipment of the school been improved. 

The four fundamental principles now employed in the school 
are : — 

First. — Freehand drawing in its simplest form, or, as it might be 
called, delineation on a flat surface. For instance, we make on the 
blackboard a circle, one of the elementary forms in use. In making 
this circle the pupils are taught to swing their hands around without 
support, to get the motion and to make a clear drawn circular line. 
When any simple form can be put down at a stroke, we have acquired 
a certain amount of manual training of a most desirable kind. Pupils 
are taught to make all elementary forms in this manner with both 
hands. 

Second. — To make those elementary forms in soft clay. 

Third. — To make those same forms in the opposite of soft clay, 
i. l\, tough wood. 

Fourtli. — Designing, creating forms on flat surfaces, in soft clay 
and in tough wood. 

By these four processes, the pupils are taught to draw simple 
forms, to memorize them sufficiently to put them in any direction, thus 
creating original designs and then to carry out the idea in clay or wood. 

There are to-day nearly two hundred and fifty trades, and there is 
not one of them that does not have one of these four principles as a 
fundamental element; for if the eye, the hand and judgment — all tools 
— are well trained, the tools of any trade will be freely handled and 
with reason. 

THE USE OF BOTH HANDS. 

In view of the success attending the experimental classes in 
drawing on the blackboard with the left hand, conducted during the 
past year, I recommend that it be introduced in the school for the 
coming term, and that additional blackboards be purchased for the use 
of the pupils. 

Many tools are used by the two hands, especially in the trades. 
Steadiness is very important for the left hand as well as the right ; 
pupils should be taught to take the tools in either hand and work in 



JO 



every conceivable direction. This practice with the left hand is also good 
for the influence it has on the right hand, more precision and exactness 
being the result. 

PRIMARY AND SECONDARY CLASSES. 

The classes of primary and secondary children have been very 
successful during the past season, and it has been fully demonstrated, 
that the method of designing and modeling, as pursued in the instruc- 
tion given these classes, is beneficial in the highest degree, and ought 
to be made general in all the schools as soon as means can be provided 
for the purpose. 

Since my last report these classes have increased from one hun- 
dred to six hundred and seventy, and now all the pupils in the Hol- 
lingsworth school building attend Tuesday and Thursday classes. 
These classes have also proved the perfect feasibility of teachers being 
capable of giving instruction in modeling and designing to a large num- 
ber of pupils at the same time. 

I have to report unabated interest on the part of the pupils of 
these classes. Their own teachers think their general studies are im- 
proved by the relaxation and change of the manual training work in 
between their other studies. The blackboard work is an important 
feature with these classes. 



TEACHERS CLASSES. 

One of the most gratifying features of the school during the past 
year was the attendance and interest shown in the teachers' classes. 
The work accomplished, considering the length of time given to it, 
and the brief period of the lessons, was remarkable, over two thousand 
pieces of their handiwork being shown during the exhibition held at 
the end of the course. 

The knowledge and skill acquired by the teachers attending these 
exercises are such, that all who have passed through the advanced 
classes are now capable of teaching the elementary work to their own 
pupils. Some of these teachers in the advanced classes are now so 
well qualified that they could readily find employment in any school 
that might be established to do work similar to that done in the Indus- 
trial Art School. 

When it is considered that these teachers' classes are held from 
five to six o'clock in the evening, except the Saturday morning class, 
which meets from eleven to twelve o'clock, and to attend which they 



1 1 

give the time that may be rightly called their own, the regularity in 
their attendance is certainly creditable, and can only be construed as 
an evidence of a sincere desire on their part to avail themselves of the 
benefits of the instruction given, and to thus improve their qualities as 
teachers. 

LEFT AND RIGHT-HAND DRAWING. 

It is with pleasure I speak of the most recent addition to the 
curriculum of the Industrial Art School — the right and left-hand 
drawing. No one can see the results of this work without being 
impressed with its value as a medium for the education of the indi- 
vidual — the perfect results produced, the simplicity of the work, the 
almost instant product of balance and symmetry, the almost visible 
development in various directions most to be desired in the education 
of the hand, the eye and the mind, impress the most skeptical. Black- 
boards have been placed in each department of the school ; every 
session all the pupils in each room take turns working about five 
minutes with each hand, a few exercises being done with both hands 
working in unison. 

In the school in which I first introduced this work, two years 
ago, many of the pupils are now able to use the left hand quite as well 
as the right. Improvement is also shown in other directions, the 
co-ordinating of one set of muscles invariably influencing the rest; the 
hands, the eyes and the mind are also exercised to a much greater 
degree than is possible when using them only partially, hence a more 
symmetrical whole is the product; the pupils stand straighter, hold 
their heads more erect and level — in a word, they have more under- 
standing. Many educators, scientists and doctors have expressed 
their hearty good-will at the method, anything saving wear and tear 
of mind and matter appealing to them directly. Much time and 
energy is saved to pupils working this way ; their understanding of 
things being quickened, they have less drudgery to go through to 
obtain facility. 

The work is chiefly, and before anything else, to be desired for 
its disciplinary value as an educational method, apart from its prac- 
tical value, in that it cultivates judgment, proportion, symmetry and 
fitness. Drawing on the blackboards the children also take exercise ; 
the work is done on so large a scale that they have to move about, no 
small work being allowed. The children avoid habit of peering at 
lines, shortening their focal length. This is one of the great troubles 
in drawing, reading or writing as usually followed in schools. In 



12 

many instances much damage is the result to sight. Too many 
children wear spectacles in these days. One of the most strictly 
enforced rules in the Industrial Art School is that children must sit up 
and keep their heads level in doing all work. 

Many people are at first inclined to doubt the value of left-hand 
work. If it can be done with the right, why do it with the left? 
they say. Why waste time that might be given to something else ? 
These questions are natural and at first seem right, but very little 
thought makes one realize that in many trades, especially the ones 
requiring skill of hand, both hands are used, and the more skilled the 
left hand the better the workman. Biology, also, teaches that the 
more the senses are co-ordinated in the individual the higher the 
type. The right hand is also influenced through sympathy. I claim 
better results from the right hand, working; the left also, than from the 
right hand working alone, in the same space of time. 

" What is manual training ? " To some it means an exercise for 
muscles, like gymnastics, and to others a process of making boys 
merely handy ; others think it a way of teaching trades to children, 
and nearly all confound it with mechanical training and suppose a drill 
is necessary in sawing and planing, chipping, filing, wood-turning, 
plumbing, etc., very few disassociating it from the use of machinery 
and from slow, tedious, trade processes, or dream that it has any- 
thing to do with women and girls. 

Manual training for the education of individuals cannot be obtained 
by mechanical pursuits similar to carpentry, plumbing, chipping, filing, 
etc. Manual training is not a matter of simply doing different things ; 
it is the intelligent selection of modes from the many operations and 
pursuits most suited to produce the effect desired. Swinging dumb- 
bells or pushing a plane or saw produces muscle, but does not require 
the constant use of the intellect ; the thinking powers are not increased 
in ratio. There are many exercises, then, more fit for our purpose. 
We must select for manual training purposes, work and methods that 
in addition to giving muscular activity, will exercise the periphenal 
nerves as tools of the sense. 

It includes all processes that train the muscles and the mind to 
work in harmony. In some of its applications it gives skill in planing 
boards and shaping iron; but just as legitimately does it make the 
hand cunning to dissect a nerve, to engrave an etching or to finger a 
violin. And as no school of manual training is obliged to teach 
anatomy, engraving and music, so no school of the kind must 
necessarily teach joinery or chipping and filing. What it must teach 



is this : processes that will make the pupil muscularly as ready to 
begin any kind of work when he is grown as arithmetic and geogra- 
phy made him mentally ready. Those who believe that such pro- 
cesses are inseperable from the use of saws and hammers have not 
looked all around the subject. At the Industrial Art School they 
would find a dexterity taught, not looking directly toward this or that 
trade, but underlying success in any of the two hundred and forty 
trades. 

The Public Industrial Art School, started in 1880 by Chas. G. 
Leland, was the first school in Philadelphia in connection with the 
public school system for the introduction of manual training in the 
public schools, not in the sense or with the special meaning attached 
to it by Dr. James Mac Alister, some time Superintendent of Philadel- 
phia schools (from 1884 to 1891), but with the full idea of the real 
meaning of the term manual training as mind and hand training, and 
all that is included therein. 

Mr. Chas. G. Leland was something more than a well-known 
litterateur when he started the work in the public schools of Philadel- 
phia. He was a skilled handworker himself, and had a complete idea 
of the practical side of the question and its application as Well as a 
theoretical one. No man engaged in the work of education to-day 
had a keener sense of touch in certain directions than Chas. G. Leland. 
It was a revelation to see his large hands, big heart and giant 
form moving among the little children, and to feel that the impulse 
came entirely outside of self to him. He turned over the money to 
me for the work. I worked for pay, he for love, in the early days. 
The fact that we tried seventeen different methods of handwork proved 
the earnestness with which we struggled with the problem of hand 
training in the public schools. The mechanical methods had to go, 
one after the other, after trial in various directions. Only after striving 
and struggling up above the use of instruments of precision, rules, 
compasses, mechanical methods, etc., could we recognize the futility 
of their use in developing the mind, the judgment, the eye, and the 
hand. Only by trying, testing and proving the fallacy of the old 
methods did we emerge into the light of better ways. Flat copies, 
feeble art methods, abuse of geometric forms and blocks (making 
blockheads) filse, artificial and unnatural systems devised for money- 
making purposes were tried and proved wanting. A number of trade 
processes were tested with similar results, until we actually, and by 
experience, came down to fundamental facts, and on these have built 
up a system reasonable, feasible, without great cost, perfectly adapted 



to all grades from the kindergarten to the university — a system that 
can be applied without friction to every kind of educational institute, 
only limited to the capacity of individuals — a system governed by 
natural law, working with the absolute precision of nature itself — a 
system that unfolds the capacities of the children as the Absolute 
unfolds the leaves of flowers — a system that teaches the pupils that 
they are in the plan and part of life, and enables them to work out 
their own salvation on the true lines of design and work as illustrated 
in every natural thing. 

J. Liberty Tadd, 
Director Public Industrial Art School. 
December, i8qi. 






Some blackboard exercises to be drawn with both hands. 



REGULATIONS FOR THE GOVERNMENT OF THE 

SCHOOL. 

1. Admission to the Industrial Art School shall be limited to the 
pupils of the Grammar Grades. No pupils shall be received except 
upon the understanding that they are to attend at least two terms. 

2. Applications for admission shall be registered with the Director 
of the Industrial Art School, and admission shall be made as 
vacancies occur. Pupils already in the School shall be entitled to 
re-enrolment before new admissions are granted, and the names of new 
applicants must be sent to the Director of the Industrial Art School 
by the Principals of the various Grammar Schools, on or before the 
second Monday of the term. 

3. No pupils shall be admitted except upon the written applica- 
tion of their parents or guardians and a certificate from the Principal 
of the school to which the pupils belong, testifying to their good 
conduct and regular attendance. 

4. In admitting pupils to the Industrial Art School, the quota for 
each school shall be two pupils for each Grammar Division. 
Vacancies caused by schools not sending their full quotas, shall be 
distributed among the other schools. These vacancies shall be filled 
at once and admission will date from beginning succeeding term. 

5. It shall be the duty of the Director of the Industrial Art 
School to keep the Principals of the schools to which the pupils 
respectively belong regularly informed of their presence at the 
Industrial Art School. 

6. Pupils shall not receive demerits of any kind in the schools to 
which they respectively belong on account of their attendance at the 
Industrial Art School ; but absence from the latter shall be charged 
against them in accordance with the rules of the school to which they 
belong. 

7. Pupils who shall be* absent two consecutive sessions, or three 
sessions in any one month, unless their absence is satisfactorily 



accounted for by their parents or guardians, shall forfeit their seats in 
the School. It shall be the duty of the Director of the Industrial Art 
School to notify the Principal of the school to which the pupils 
respectively belong that their names have been stricken from the roll. 

8. Certificates shall be granted to oupils who finish the whole 
course of study and execute an original design in the different depart- 
ments of the School in drawing, designing, modeling and carving. 



RULES OF THE SCHOOL 

1. Pupils must be regular and prompt in their attendance. Every 
absence must be accounted for by a written excuse from the parents 
or guardians. 

2. Pupils must receive from the Director of the School, each day, 
a check, showing their attendance upon the school, which must be 
delivered the following day to the Principal of the School to which 
they respectively belong. 

3. Pupils must be quiet and orderly in entering and leaving the 
school-building. Assembling or talking in the corridors is forbidden. 

4. Each pupil is required to provide a suitable working dress, and 
will be furnished a place for the safe-keeping of the same. 

5. Pupils must be careful in the use of tools and materials, and 
will be required to make good any needless injury or waste committed 
by them. 

6. Inattention to work or disregard of any of these rules will be 
sufficient cause for the dismissal of a pupil from the school. 



RULES FOR TEACHERS. 

1. Work and materials to be placed on tables before classes 
begin in each department. 

2. All work to be cared for and carefully placed away after class 
is over. 

3. Individual instruction is to be given to each pupil in rotation, 
each lesson as far as possible. 

4. No roll-call or marking of names or work must be done until 
all pupils have been supplied with materials and started in their work ; 
fifteen minutes must be allowed for late pupils to report. 

5. Teachers intending to be absent must report same to the 
Director. 

6. Teachers employed to teach the public school teachers' 
classes, will devote time between sessions to getting work ready for 
the classes ; all materials, models, tools, etc., to be placed in position 
before work begins. 

7. Teachers in each department in designing, modeling and carv- 
ing rooms will see that pupil* each receive at least five minutes' time 
at the blackboard. 

8. Teachers will personally see that all models in use in their 
several departments are cared for ; any wilful marking or disfiguring 
of models to be reported to the Director. 

9. Teachers must continually enforce rule that pupils sit up in 
their seats, keep their heads level and their designs and work 
straight upon desks ; much damage physically is caused by pupils 
drooping over their work, shortening their focal length and breathing 
capacity. 



COURSE OF INSTRUCTION. 

ELEMENTARY DRAWING AND DESIGNING. 

ist Period.— Non-imitative Elements and line-work. 2d. Con- 
ventional Forms. 3d. Plant Forms. 4th. Combination of preceding. 
5th. Greek Elements and Style. 6th. Roman Elements and Style. 
7th. Moresque Elements and Style. 8th. Gothic Elements and Style. 

1. All work to be freehand. 

2. Designs in the various grades in every case to be original and 
for the purpose of being used in wood, clay, metal, fabrics, etc. Pupils 
must indorse on each piece of work its character and purpose. 

3. The importance of designing for some purpose, and in some 
material, to be kept constantly in view. 

4. Making designs to obtain proficiency in linear drawing and 
simple washes. 

5. Working designs in monochrome for training the pupils in 
handling the brush. 

BLACKBOARD WORK. 

1. Freehand drawing with left and right hands on the blackboard 
by each pupil every session, in the designing room, in the modeling 
room and in the carving room. Each pupil to work at least five 
minutes. 

2. Pupils will invariably begin with the first period, units and 
elements, upon entering the school. 

3. Lectures and blackboard demonstrations on the structure and 
meaning of ornament and design in material. 

MODEL AND OBJECT DRAWING. 

I. All work must be freehand in this department; no rules or 
compasses. 

ist Period. — Simple Geometric Forms in Linear. 2d. Simple 
Geometric Forms. 3d. Elementary Forms from Models. 4th. Element- 
ary Forms from Models. 5th. Geometric Forms in Perspective. 6th. 



Geometric Forms in Perspective. 7th. Drawing from Models. 8th. 



Drawing from Models. 



CLAY MODELING. 



1st Period. — Non-imitative and Elementary Forms. 2d. Conven- 
tional and Plant Forms. 3d. Elements used in drawing for preceding 
month. 4th. Elements used in drawing for preceding month. 

1. How to temper the clay, keeping moist, wedging, etc. 

2. Training in the use of tools. 

3. Modeling in low and high relief from original designs. 

4. Modeling in low and high relief from casts. 

WOOD CARVING. 

1st Period. — Linear, straight, square and angle cutting. 2d. 
Simple low relief. 3d. High or low relief in style. 4th. Original 
panel. 

1. Instruction in the use and care of tools. 

2. Low and high relief carving in hard wood, bosses, scrolls, 
mould sinking. 

3. Carving enrichments for cabinet-work, panels, etc. 



20 



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Elementary forms 
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Conventional 
forms. 

Units of above. 

Simple geometric 
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Non-Imitative 

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line Work. 

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Units of above. 

Geometric forms 
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Units of above. 

Geometrio forms 
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Wood Carving, Grammar Grades. 









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Designing, Grammar Grades. 



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